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Cast: Payton Leigh, Shawn Diesel #rhapiuREVIEWS 1112 scene 4 #ReleasedThisYear2009 #BJrhapiu #MILFrhapiu #BIGCOCKrhapiu

13,781 görüntüleme • 11 ay önce •via X (Twitter)

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Israel Adesanya, Rampage Jackson and N3on star in a $2,000,000 feature film made by just 28 people in 4 weeks. You'd be INSANE to scroll past this: 1. The Cully Hill Boys: a full 110-minute feature film 2. The first fully AI generated feature film to star licensed celebrity likenesses 3. Israel Adesanya. Quinton "Rampage" Jackson. N3on. Matt Kiatipis. 4. Every likeness licensed with consent. Signed agreements, not deepfakes. 5. Production cost: $2,000,000 6. Team: 28 people. Timeline: 4 weeks. 7. Around 1,000 assets across 100+ locations 8. A feature at this scale normally takes hundreds of people and years 9. World premiere: August 5 at The Glasshouse in New York 10. This isn't a demo. It's a premiered feature film. 11. And today every prompt behind it went public 12. Every asset. Every scene. $0. 13. Studios would pay 6 figures for this exact knowledge 14. Open the kit, pick any scene 15. Reverse engineer how they directed a real cast across 100+ locations 16. Rebuild any part of a premiered film's pipeline yourself 17. First movers on new techniques always eat 18. The playbook is sitting in a free folder And today Higgsfield open-sourced every prompt behind it. A premiered feature film with a licensed celebrity cast just handed you its entire pipeline. If you're serious about getting paid for AI video in 2026, this is the best free shot you'll get. Open the kit tonight, pick ONE scene, and rebuild it. That's your film school for 2026 and it costs you nothing. (clip attached; straight from the film)

ALEX SUZUKI

172,223 görüntüleme • 1 ay önce

Open the vote for NYC LED THIS JULY! ขออภัยในความเร่งรีบคับผม ขออนุญาตเปิดโพลโหวตสำหรับคลิปวีดีโอที่จะขึ้น NYC TIME SQUARE คับผม ปิดโหวตเที่ยงวันพรุ่งนี้คับผม (12:00 pm) 1. คลิปเก่งน้ำปิงที่ขึ้นต้นด้วยโลโก้ 2. คลิปเก่งน้ำปิงสีน้ำเงิน 3. คลิปเก่งน้ำปิงที่ขึ้นต้นด้วยเมืองนิวยอร์ก 4. คลิปเก่งน้ำปิงที่ขึ้นต้นด้วยน้องผีเสื้อ รีบโหวตกันนะคับพี่ ๆ 🤍🤍 ขอบคุณสายอีดิทนักซิ่ง ที่พาเจ่งปุ๋งขึ้นจอไปพร้อมกันฮะ Sorry for the last-minute notice! 🥹 We’d like to open a poll to vote for the video that will be displayed in NYC Times Square! 🤍 Voting closes tomorrow at 12:00 PM. 1. KengNamping video with the logo opening 2. Blue-themed KengNamping video 3. KengNamping video opening with the New York City scene 4. KengNamping video opening with the butterfly Please cast your vote as soon as you can! 🤍🤍 A huge thank you to our amazing editing team for helping bring Keng & Namping to the Times Square screen together! 🫶

KengNampingLand

30,124 görüntüleme • 2 ay önce

EPRA Called Into Question Over Case of Adulterated Fuel at Total Njabini A distressed motorist has reached out claiming that her vehicle broke down after fueling at Total Njabini, alleging that the diesel purchased was adulterated, leading to a harrowing night of mechanical failures and frantic repairs. Here is her account of the seven-hour ordeal in Kinangop. "Hi Nyakundi. This was the Saturday 30th Incident. 3:51 pm - Fueled at Total Njabini. Full tank. I trust Total. 3:59 pm - Dashboard prompts “Drain water from fuel filter.” I stopped for a few minutes, but the alert did not disappear. I thought maybe it was kidogo maji or a sensor issue. 4:05 pm - Arrived at my destination near Karima Girls. About 2 km from Ndunyu Njeru. 9:00 pm - Time to start my journey back to Nairobi. Hell broke loose. After ignition, the engine vibrated violently! Same error: “Drain water from fuel filter.” Normally, this is something you can do on your own. After several attempts without success, we resolved to engage a mechanic. It was now past 10:00 pm. Hapa nikutafuta mechanic hadi kwao home. 11:00 pm - Mechanic arrives. Manages to empty the fuel filter and drain everything that was already in the system. Miraculously, the vehicle ignites. Happily, we leave the scene. 100 m from the scene, the car loses power and stops 😨. It’s now almost midnight. Stuck deep inside Kinangop, traumatized, frustrated, and helpless. 12:00 midnight - Another major decision: drain the fuel tank. Every drop of it. Everything now smells like kerosene. The fuel was adulterated; it was actually more kerosene than diesel, plus water. Now we need fuel to refuel once we empty the tank. Huku, petrol stations hufungwa by 8:00 pm. Some nduthi guy went all the way to Kwa Haraka and got us some 20 l. Attempts to siphon fuel using a pipe were not successful. Mechanic didn’t anticipate he would need to remove the entire fuel tank, so hana tools. He had to rush home to bring them. 1:00 am - Mechanic came back. Removed the entire fuel tank with 80 l of fuel. Spent almost an hour. The pain of watching your fuel tank being removed past midnight by a stranger, unsure whether he could fix it back properly, was horrific. But did I have a choice? 2:00 am - Mechanic returns the fuel tank. Using a makeshift funnel, we refueled. Now it was the moment of truth. Madam akisha, wolaaaa! The engine ignites. Everyone claps 👏. Wow, it has worked finally. 3:00 am - I left Kinangop. We made it to Nairobi past 5:00 am. TotalEnergies rep shared this report from EPRA. Do Epra officials work on Sundays?"

Cyprian, Is Nyakundi

97,021 görüntüleme • 1 yıl önce

Video content creation sounds simple, but what if you don’t have time to: • Write the script, • Prepare the visuals, • Generate the voiceover, • Create the subtitles, • And finally render the video? This is why we built Noustiny on top of Nous Research Hermes Agent by adding 12 generic Hermes tools + 13 generic Hermes skills, bringing the whole process into one single flow. How does it work? Let’s take a closer look 👇 ———— 1- Story state: context, tree, motifs: Hermes had no built-in narrative-state primitive for tracking canon, branching story structure, and recurring motifs. So we added three generic Hermes tools for this: → story_tree_graph: Manages the story tree structure. It handles operations like canon path, descendants, and splice insertion points. → narrative_context_builder: Walks the canon chain and returns the live context every narrative skill should reason against. This includes recent chain, mood, and character state. → motif_tracker: Remembers recurring motifs across the story arc. For example, a sword introduced in beat 2 can reappear meaningfully in later scenes. ———— 2- Character / cast pipeline: Hermes had no built-in primitive for cast extraction or character continuity. So we added a four-tool character pipeline: → story_copyright_detector: Handles IP scrubbing. For example, “Iron Man” is converted into an IP-free character description before the image API ever sees it. → character_sheet_builder: Produces 1 to 4 characters. For each character, it creates an IP-free visual description and a hero-portrait prompt. These portraits become the reference frames used across later storyboard scenes. → character_registry_lookup: Finds a character by name inside the cast sheet and attaches the correct portrait reference to each beat. → character_alias_resolver: Resolves aliases like “Mr. Stark” into the main character name. This way, the same character keeps one portrait reference even if they appear under different names. ———— 3- Voice pipeline: Hermes had no built-in primitive for audio acquisition or voice cloning. So we added the full voice chain, and the agent dispatches it autonomously in order: → narration_voice_director: The director-agent reads the seed + story and returns persona_label, search_query, and fallback_query. → voice_sample_builder: Uses yt-dlp + ffmpeg. It accepts a URL, an 11-character ID, or a free-text query. It runs ytsearch5 with dead-video tolerance and normalizes the audio to 24 kHz mono PCM. → voice_clone_synthesize: Wraps ElevenLabs IVC + timestamps. The voice ID is cached by reference SHA. Per-character alignment comes through the same audio call at no extra cost. → voice_clone_cleanup: Frees the cached voice ID after render so orphan voices do not accumulate. ———— 4- Render: Hermes had no built-in video-render entry. So we added the final render tool: → noustiny_storybook: The agent dispatches it as the final step of the chain. One tool call drives the FastAPI render service end to end and emits the mp4. ———— 5- Skills: 13 generic Hermes skills added into skills/creative/: The branching engine in Noustiny works like a council of narrative skills. Each skill is loaded by the gateway as a system prompt and orchestrated in this order: → narrative-brainstorm: Proposes 2 to 3 next-checkpoint options from the canon chain. → narrative-writer-assist: Writes a spliced insert beat that fits the parent and child. → narrative-continuity-critic: Audits downstream beats against the new insert. → narrative-rewriter: Updates the stale beats flagged by the continuity critic. → narrative-judge: Approves or rejects the rewrite against the original flow. → narrative-scene-qa: Checks each beat for consistency, length, and register. → narrative-writer: Finalizes the chosen branch as polished prose. After one splice, this cascade walks downstream by itself until the canon becomes coherent again. ———— 6- Visual + IP pipeline: On the visual side, the goal is not just generating scenes. It is also preserving character continuity and IP safety. This pipeline runs through these skills: → visual-prompt-builder: Turns a beat into an IP-free image prompt and reads the character-sheet references. → scene-composition: Defines shot framing, scene composition, and layout rules. → story-copyright-detector: Skill counterpart of the same-named tool. It can be used for direct slash-command invocation. → character-sheet-builder: Skill counterpart of the same-named tool. Defines cast extraction rules and the IP-free portrait-prompt format used to seed character consistency across the storyboard. → storybook-intro: Generates the cinematic intro page for the render. ———— 7- Voice skill: → narration-voice-director: Defines persona reasoning rules and supports the decision logic behind the same-named voice tool. ———— 8- Pattern: Hermes baseline already had the gateway, agent loop, skill registry, and tool registry. We extended that foundation with 12 generic Hermes tools + 13 generic Hermes skills and organized the system into four main pipelines: • story-state • character continuity • voice • render The important part is this: Noustiny is not a hardcoded system locked inside a single app. A Telegram bot, Discord bot, CLI session, or third-party Next.js app can call the same gateway and use the same tool + skill chains. - No app glue. - No hardcoded prompts. - A drop-in, registry-compatible, agent-native video creation flow. ✅Github:

Ufuk

28,972 görüntüleme • 4 ay önce

Social worker gets busted after doing the unthinkable with a 13 year old she was supposed to be helping. Meet Payton Shires a social worker employed by a youth advocate program and assigned to provide professional counseling and support to a 13-year-old boy. Instead of helping him, Shires crossed severe professional and legal boundaries, engaging in unlawful misconduct with her minor client. ​The situation came to light when the boy’s mother grew suspicious and examined her son’s phone, discovering messages from Shires trying to cover up the behavior. The mother immediately contacted law enforcement. Shires was initially arrested but quickly posted a $500,000 bond. Almost immediately upon her release, the situation escalated into a crisis. Shires made harassing phone calls to the victim’s mother and drove directly to the family's residence. ​The mother spotted Shires outside via a doorbell camera and alerted the police. When Columbus Police tactical officers arrived at the scene, they found Shires on the front porch experiencing a severe mental health crisis while armed. Officers successfully de-escalated the situation, safely disarmed her, and took her into custody. Shires pleaded guilty to multiple charges, including unlawful sexual misconduct with a minor, inducing panic with a firearm specification, and intimidation of a witness. ​The judge noted during sentencing that Shires had severely violated a position of trust, noting that her training as a professional should have prevented the boundaries from being broken. She was sentenced to 4 years and 9 months in prison, permanently stripped of her social work license, and ordered to register as a sex offender for 25 years. How does this sentence make you feel, was justice served or yet another example of soft on crime?
6:54

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Social worker gets busted after doing the unthinkable with a 13 year old she was supposed to be helping. Meet Payton Shires a social worker employed by a youth advocate program and assigned to provide professional counseling and support to a 13-year-old boy. Instead of helping him, Shires crossed severe professional and legal boundaries, engaging in unlawful misconduct with her minor client. ​The situation came to light when the boy’s mother grew suspicious and examined her son’s phone, discovering messages from Shires trying to cover up the behavior. The mother immediately contacted law enforcement. Shires was initially arrested but quickly posted a $500,000 bond. Almost immediately upon her release, the situation escalated into a crisis. Shires made harassing phone calls to the victim’s mother and drove directly to the family's residence. ​The mother spotted Shires outside via a doorbell camera and alerted the police. When Columbus Police tactical officers arrived at the scene, they found Shires on the front porch experiencing a severe mental health crisis while armed. Officers successfully de-escalated the situation, safely disarmed her, and took her into custody. Shires pleaded guilty to multiple charges, including unlawful sexual misconduct with a minor, inducing panic with a firearm specification, and intimidation of a witness. ​The judge noted during sentencing that Shires had severely violated a position of trust, noting that her training as a professional should have prevented the boundaries from being broken. She was sentenced to 4 years and 9 months in prison, permanently stripped of her social work license, and ordered to register as a sex offender for 25 years. How does this sentence make you feel, was justice served or yet another example of soft on crime?

Giggling Ganon

78,958 görüntüleme • 3 ay önce

This is the scene at petrol pumps in #Hyderabad city today. 3 Oil marketing companies #HPCL, #BPCL, #IOCL — are responsible for the ongoing #petrol and #diesel shortage in #Hyderabad. The current #fuel crisis is not due to external factors like the Iran war or lockdown rumours, but due to a dispute between oil companies and petrol pump owners. Several petrol pumps in Hyderabad have shut down as a result of this dispute. Oil companies have suddenly introduced new rules, including stopping the credit facility for fuel purchases over the past two days. Earlier, petrol pumps received fuel on credit and paid oil companies after one or two days, which was convenient for station owners. Over the last 3–4 days, oil companies have made advance payment mandatory before supplying fuel. Many petrol pumps have stopped operations as they are being asked to clear old dues and pay upfront for new stock. This has increased pressure on the few stations that still have fuel, leading to stocks running out within a day. Pumps are reopening only when fresh stock becomes available, causing repeated closures. Petrol pump owners allege that oil companies are deliberately creating difficulties and question the sudden policy change during a critical time. Long queues have formed at operational petrol stations as fuel stocks deplete quickly. Many petrol pumps have remained closed across the city for the past two days. Hundreds of vehicles are lining up at fuel stations throughout the day, causing major traffic congestion in city. Traffic police have intervened, asking motorists not to believe rumours and working to ease congestion. There is a growing demand for the Civil Supplies Department to intervene, resolve the dispute, and restore normal fuel supply in the city. #fuelcrisis #fuelshortage

L Venkat Ram Reddy

196,537 görüntüleme • 6 ay önce

Kenneth Branagh's #Cinderella (2015) remains my favorite Disney live-action remake, and this particular scene is exactly why the remake justifies its existence and deserves to sit among the very best of the Cinderella library. The Prince actually joins the search for Ella in disguise instead of simply waiting in the castle. Along the way, he confirms his suspicions about the Grand Duke's dishonesty when he catches him trying to abandon the search after hearing Ella singing. Even better, he personally witnesses the Stepmother's cruelty when she's exposed right in front of him and the guards accompanying him in disguise. This change adds so much more depth and personality to the Prince, making him feel like an active participant in the story rather than someone who just waits for fate to reunite him with Ella. It also makes their romance feel much more mutual, since he's willing to go out and search for her himself. Now that's how you expand a relationship in a live-action remake without betraying what made the original so timeless! Oh my god, I can't stress enough how perfectly everyone in this movie was cast. From the performances to the writing, cinematography, costumes, production design, the beautiful score, and Branagh's elegant direction, nearly every aspect of the filmmaking feels close to perfection. Like I've said before, it feels like a whimsical, Jane Austen-esque fairy tale brought to life. I still remember seeing this movie in theaters, and when the Prince finally revealed himself during the slipper search, everyone in the audience gasped. It was such a satisfying payoff because, for the first time, he wasn't just waiting for Ella to come back to him, he had been there all along, determined to find her himself. It's one of these moments that perfectly captures why this remake works so well. I've watched this movie so many times, which, of course, is a rarity for me when it comes to Disney's live-action remakes. Every time a mediocre one comes out, I always find myself returning to Cinderella. It reminds me what a genuine, sincere live-action remake looks like when it's made with real care and respect for the original while still finding meaningful ways to expand on it. If this movie is in your favorites or your Letterboxd Top 4, you have my respect. Hats off to everyone who worked on this movie 🥰

Edward Burger (not Berger) ❤️🌈

181,795 görüntüleme • 2 ay önce

I made this 30-second clip on Higgsfield AI 🧩 Prompt: Create a 30-second first-person POV cinematic food-and-pet video. On a rainy evening, inside a compact but beautifully lived-in contemporary European-style home kitchen, an adult man's hands prepare a complete comforting dinner: pan-seared salmon, roasted baby potatoes, honey-glazed carrots, and a creamy mushroom soup. During the preparation, he prepares a tiny cooled piece of salmon for his small puppy waiting nearby. The video is intimate, observational, natural and completely unscripted in feeling. The entire sequence uses a controlled multi-camera-feeling POV structure created through hard cuts. Every cooking action is shown clearly and physically. At the end, the complete dinner is arranged on a wooden serving board and carried to a small dining table. SCENE SETTING: A compact, warm modern home kitchen that has clearly been used for years. The kitchen contains matte cream cabinets, a dark stone countertop, a stainless-steel induction cooktop, a small convection oven, an old wooden cutting board, ceramic bowls, a cast-iron skillet, a medium saucepan and a compact countertop rice/steam cooker. On the counter are the prepared ingredients in separate containers: a skin-on salmon fillet, baby potatoes, small carrots, fresh mushrooms, heavy cream, garlic, butter, fresh rosemary, thyme, olive oil, a small bowl of honey, black pepper, sea salt, and chopped parsley. A wooden dining table is visible several steps away from the kitchen. Near the table sits a small cream-colored fluffy puppy with slightly darker ears. The puppy is lying on a folded gray blanket, quietly watching the man's hands. It occasionally raises its head when it smells the salmon but otherwise remains patient. A large kitchen window is above the sink. Outside, heavy evening rain falls against the glass. Water droplets slowly travel down the window, and blurred streetlights glow through the wet glass. Whenever the camera faces the window, the rain remains clearly visible. The refrigerator contains a few ordinary magnets and a small blank paper note. No readable branding, logos, recognizable labels or copyrighted imagery appear anywhere. POV LOCK: Every shot is first-person POV from the eye level of an approximately 178cm tall adult man working naturally in the kitchen. Only his hands, wrists and forearms are visible. His face and body are never shown, including reflections. The hands have medium-light natural skin, short clean fingernails and a small faint healed scratch near the left thumb. He wears a charcoal-gray long-sleeve home shirt with the sleeves casually rolled to the forearms and a dark beige kitchen apron. These exact hand, sleeve and apron details remain consistent throughout the entire video. The camera behaves like a real human head. It moves only when the person naturally turns, bends, reaches, looks toward the stove, looks toward the puppy or walks toward the table. No independent cinematic camera movement. Slight natural body sway, subtle breathing movement, tiny framing imperfections and realistic handheld instability are allowed. FORMAT MODE: Controlled multi-shot sequence. Real-time speed. Hard cuts only. Every segment begins with an action already in progress. Hands, utensils or food must already be visible immediately after every cut. No empty establishing shots. No slow motion. No artificial time-lapse. No dissolves. The emotional center is the small interaction between the man and the puppy. The final complete dinner is the visual culmination. COOKING CONTINUITY LOCK: This is a high-priority continuity rule. Every pan, bowl, saucepan, tray and plate must contain exactly what was previously placed inside it. Nothing appears or disappears without being visibly handled. Every completed action happens only once. No cooking action is repeated after it has already occurred. The salmon remains the same individual fillet throughout the video. The same potatoes remain the same potatoes. The same soup remains in the same saucepan. The puppy's salmon piece comes from the same salmon fillet that is eventually served. No duplicate food is allowed. Unused ingredients remain inside their original containers until visibly used. The salmon journey is locked: Beat 1 — the raw salmon fillet is placed skin-side down into the hot cast-iron skillet. Beat 2 — the salmon remains in the skillet while its underside sears. Beat 3 — the same salmon is turned once and continues cooking. Beat 4 — the cooked salmon is removed from the skillet. Beat 5 — a small piece is taken from the edge of that exact fillet and cooled for the puppy. Beat 6 — the remaining salmon is placed onto the final serving board. The missing piece remains visibly missing from the salmon until the end. ACTION BEATS: BEAT 1 — SALMON + POTATOES At the beginning, the cast-iron skillet is empty and heating. The man's right hand places the same skin-on salmon fillet into the skillet with metal tongs. A strong natural sizzle begins immediately. The salmon remains in the exact same position while the skin gradually becomes crisp. With the other hand, he places halved baby potatoes into a separate shallow roasting pan. A small amount of olive oil and rosemary is added. The oven door opens and the potatoes are placed inside. The oven closes. Hard cut. BEAT 2 — SALMON SEARING The salmon remains inside the same skillet. The edges begin turning opaque while the skin becomes golden and crisp. The man's hand adds a small knob of butter, crushed garlic and fresh thyme beside the fish. The butter melts around the salmon. He gently tilts the skillet and spoons the hot butter over the top of the fish several times. Steam rises naturally. No fish is removed yet. Hard cut. BEAT 3 — SOUP The same saucepan is now visible on the second burner. The saucepan contains sliced mushrooms and butter. The man's hand stirs them slowly until they soften. Cream is poured into the saucepan. The cream mixes naturally with the mushrooms. A small amount of black pepper and salt is added. The soup begins steaming gently. The rain continues audibly outside. Hard cut. BEAT 4 — FINAL SALMON + PUPPY The man returns to the skillet. Using the same metal tongs, he carefully turns the same salmon fillet ONCE. The underside is beautifully browned and the surface glistens with butter. He cooks it briefly. He then removes the salmon from the skillet and places it onto the wooden cutting board. The puppy, hearing the movement, raises its head from the blanket. The man notices the puppy. He smiles subtly. Using a fork, he separates a very small flaky piece from the edge of the salmon. The missing section remains visible. He places the small piece into his palm. He brings it close to his mouth and gently blows on it twice to cool it. The man's face remains completely outside the frame. The camera naturally lowers as he crouches beside the puppy. The puppy is now sitting upright with its tail gently moving. He places the cooled salmon piece on the gray blanket in front of the puppy. The puppy carefully approaches. It takes the salmon in small bites. Its eyes narrow slightly while chewing. Its tail gives a few happy movements. The man's hand gently scratches the puppy behind one ear. The puppy leans its head into his fingers. This interaction is quiet, natural and affectionate. Hard cut. BEAT 5 — PLATING At the beginning of this beat, an empty rectangular wooden serving board is on the dining table. The roasted potatoes are removed from the oven and placed into a small ceramic bowl. The mushroom soup is ladled into a deep ceramic bowl. The honey-glazed carrots are transferred onto a narrow plate. The salmon, still with the small missing section from the puppy's piece, is lifted from the cutting board using the tongs. It is placed onto a long ceramic plate. A few rosemary leaves and chopped parsley are added naturally. The four finished components are arranged together on the wooden serving board. Nothing is duplicated. Every portion comes from the food previously prepared. Steam rises naturally from the soup, salmon and potatoes. The plating is attractive but imperfect and homemade. Hard cut. BEAT 6 — DINNER TABLE The serving board begins exactly as it appeared at the end of Beat 5. The man grips both sides of the wooden board. He turns away from the kitchen and walks several natural steps toward the dining table. The camera moves with his body. The image sways subtly with each step. The rainy window passes through the background. The puppy follows behind him with its tail raised. He gently places the serving board onto the dining table. The puppy sits beside the table and looks up at him. His hands enter the lower portion of the frame. He briefly scratches the puppy's head. The final frame holds on the steaming homemade dinner with the puppy sitting beside the table. OPTICS AND CAMERA: Natural first-person human POV. Approximately 45–50 degree diagonal field of view. No artificial zoom. No gimbal. No drone movement. No impossible camera transitions. Camera movement comes exclusively from realistic head and body movement. When reaching toward the skillet, the camera naturally leans forward. When looking toward the puppy, the head turns downward. When crouching, the camera lowers with the body. When walking to the dining table, natural footstep-induced vertical movement is visible. Autofocus behaves naturally between hands, food, puppy and background. Slight focus breathing is allowed. Minor framing imperfections are encouraged. No fisheye distortion. No exaggerated lens effects. No cinematic crane shots. PHYSICS: Hyper-realistic cooking physics. Salmon skin crackles and becomes crisp. Butter melts immediately when touching the hot skillet. Steam rises according to heat. Cream swirls naturally into the mushroom mixture. Potatoes have believable weight and moisture. Honey coats the carrots rather than floating separately. Food never duplicates, disappears or changes shape unnaturally. The puppy's fur reacts naturally to touch. The puppy's ears move subtly according to sound and attention. Its pupils adjust naturally. Its jaw and mouth movements during eating remain realistic. The puppy must never behave like a human. No floating objects. No clipping. No impossible hand positions. No teleporting food. LIGHTING: Warm practical kitchen lighting from overhead fixtures. Cool blue-gray ambient light from the rainy window. Soft reflections on the dark countertop. Subtle warm highlights around the skillet and oven. Natural exposure prioritizing hands and food without making the scene look like a commercial. The rain outside creates a gentle cool contrast against the warm kitchen interior. No extreme HDR. No excessive bloom. No artificial beauty lighting. No perfect food-commercial presentation. REALISM: The final result should feel like an authentic first-person home video captured by a real person, but with exceptionally high visual fidelity. Food must look edible and naturally imperfect. The salmon should have uneven browning. The potatoes should have slightly different shapes. The carrots should vary subtly in size. The soup surface should contain natural movement. The serving board should not look perfectly symmetrical. The puppy should feel like a real young dog rather than a cartoon mascot. FRAME RATE: Stable real-time 24fps. No slow motion. No speed ramping. No frame interpolation artifacts. No ghosting. No stuttering. No temporal deformation. AUDIO: Only natural synchronized environmental audio. Continuous rain against the kitchen window. Soft distant city ambience. Skillet sizzling. Butter bubbling. Knife touching the cutting board. Potatoes moving inside the roasting pan. Oven door opening and closing. Soup gently simmering. Ceramic bowls touching the countertop. Tongs lightly clicking against the skillet. Soft puppy breathing. Tiny puppy chewing sounds. The puppy's collar makes a very subtle metallic sound when it moves. Wooden serving board makes a soft dull sound when placed on the table. No narration. No dialogue. No music. No subtitles. No text overlays. No logos. No watermark. FINAL NEGATIVE LOCK: No Japanese kitchen. No Japanese meal. No mackerel. No tamagoyaki. No rice set meal. No tabby cat. No copied character design. No recognizable branded products. No readable logos. No artificial food duplication. No changing hand appearance. No changing sleeves. No changing puppy appearance. No changing kitchen layout. No random ingredients appearing. No objects teleporting. No impossible physics. No cinematic camera that moves independently from the person's body. No CGI-looking food. No advertisement aesthetic. No staged comedy. No exaggerated animal behavior. The entire video must maintain one coherent physical reality from the first frame to the final frame.

Shara

15,361 görüntüleme • 24 gün önce

Remembering film director Lloyd Bacon on his Birthday Born | December 4, 1889 in San Jose, California, USA Died | November 15, 1955 aged 65 in Burbank, California, USA Video | The “By a Waterfall” production number from Footlight Parade (1933) featuring 300 choreographed swimmers. One of the workhorses in Warner Brothers' stable of directors in the 1930s, Lloyd Bacon didn't have a career as loaded with classic films as many of his more famous contemporaries. What few “classics” he had his hand in (42nd Street (1933), Footlight Parade (1933) are so overshadowed by the dazzling surrealistic choreography of Busby Berkeley that casual film buffs today often forget they were actually directed by Bacon. While his resume lacks the drama of failed productions and tales of an unbridled ego, he consistently enriched the studio's coffers, directing a handful of its biggest hits of the late 1920s and 1930s. Bacon's career amounts to that of a competent ― and at times brilliant ― director who did the best with the material handed to him in assembly-line fashion. Lloyd Bacon was born into a theatrical family (his father was Frank Bacon, a playwright and stage actor). His parents enlisted all the Bacon children onto the stage. Despite having a strong interest in law as a student at Santa Clara College, Lloyd opted for an acting career after appearing in a student production of “The Passion Play”. In 1911 he joined David Belasco's Los Angeles Stock Company (with Lewis Stone), touring the country and gaining good notices in a Broadway run of the hit “Cinderella Man”, and gaining further experience during a season of vaudeville. He switched gears in 1915 and took a stab at silent Hollywood, playing the heavy in several of Gilbert M. 'Broncho Billy' Anderson's shorts and pulling double duty as a stunt man. With America's entry into World War I in 1917, Bacon enlisted in the Navy and was assigned to the Photo Department. This began a lifelong admiration for the service and might explain the Navy being a favourite recurring theme in many of his films. After the war's end Bacon moved from Mutual (Charles Chaplin's studio at the time) to Triangle as a comedy actor. It was at this point that he got his first taste of directing ― he had let everyone at the studio know he had an interest in helming a picture, and when the director of a now forgotten Lloyd Hamilton comedy short fell ill, Bacon was given his chance. Constantly moving, he joined tightwad producer Mack Sennett as a gag writer. Sennett, sensing a bargain, happily accommodated Lloyd's desire to become a full-time director by early 1921. The Sennett studio was already in an irreversible decline during Bacon's tenure there but it allowed the novice director to gain a wealth of experience. He apprenticed for Sennett until joining Warner Brothers in 1925, an association that would last a remarkable 18 years and begin when the working-man's studio was building a strong stable of contract directors that included Michael Curtiz, Alan Crosland, John G. Adolfi and Mervyn LeRoy. Although Lloyd never became known for a particular style other than a well-placed close up, his ability to bring in an entertaining film on time and within budget earned him such enormous respect from the five Warner Brothers that he was soon handed control over important projects, including The Singing Fool (1928), Al Jolson's follow-up to The Jazz Singer (1927), which grossed an unheard-of (for Warners, at least) $4,000,000 in domestic receipts alone ― the studio's #1 hit for 1928. Bacon was rewarded by becoming the highest paid director on the studio lot, earning over $200,000 a year throughout the Depression. He was called upon to direct the studio's big-budget production of Moby Dick (1930), which garnered good notices, but it's a version that's barely remembered today. The 1930s saw Bacon assigned to the assembly line; aside from the Busby Berkeley-choreographed films, he directed many of James Cagney's crowd-pleasing two-week wonders, including Picture Snatcher (1933) (Cagney once remarked that the schedule on that picture was so tight that, one time after he and the cast had rehearsed a particular scene, Cagney said, “OK, Lloyd, are you ready to shoot?” Bacon grinned and said, “I just did!”) and The Irish in Us (1935). As a reward, he was occasionally afforded more time and money on productions such as Here Comes the Navy (1934) and Devil Dogs of the Air (1935). He also directed Cagney's return effort after his ill-advised move to cheapjack Grand National Pictures after one of his periodic salary disputes with studio head Jack L. Warner ― the badly miscast if frenetic Boy Meets Girl (1938). This was one of Cagney's least critically acclaimed Warner Brothers films of the 1930s, but a smash hit for the studio. During his years at Warners, Bacon gained a reputation as a clothes horse, the dapper director arriving on the set dressed to the nines, wearing expensive hats that he would hurl around the set when expressing his dissatisfaction (he ruined a lot of hats) at an actor's performance or missed cue. Bacon continued to turn out profitable films for the studio until moving to 20th Century-Fox in 1944 (a logical move, since the recently discharged Darryl F. Zanuck knew Bacon from his early days at Warners). He stayed at Fox until 1949, then bounced among Columbia, Fox, Universal and finally the chaotically-run RKO in 1954. He worked virtually until his death from a cerebral hemorrhage at age 65.

Hollywood Golden Age of Cinema

39,801 görüntüleme • 9 ay önce

Created With Grok Imagine. ●. The Ring World - Stillness, silence 1. Nebula Birthplace - Star formation 2. The Pillars - Birth, creation 3. The Storm - Isolation, turbulence 4. The Wanderer - Eternal journey 5. The Threshold - Edge of reality 6. The Collision - Time meaningless 7. The Abyss - Forever stares back 8. The Pale Blue Dot - Home grok imagine prompts used: [ { "id": 0, "title": "The Ring World", "prompt": "A gas giant's rings stretching to infinity, seen edge-on as razor-thin lines of pale gold and silver ice extending beyond comprehension into the void. The planet itself is a massive sphere of muted amber and slate grey storms, half in shadow, half catching distant starlight. The rings cast a whisper-thin shadow band across the planet's face. Everything floats in absolute silence and stillness against crushing black emptiness. A single moon, small and pale, drifts in the middle distance. The scale is vertigo-inducing - the rings could wrap around everything you've ever known. Cinematic composition, extreme wide shot, deep atmospheric blacks, soft diffused lighting, melancholic and vast, jewel-tone highlights on ring particles catching light, 8K, anamorphic lens, cosmic sublime aesthetic." }, { "id": 1, "title": "Nebula Birthplace", "prompt": "A breathtaking view of the Carina Nebula's star-forming pillars, towering columns of cosmic dust and hydrogen gas illuminated by the fierce ultraviolet radiation of newborn blue-white stars. The pillars rise like ancient cathedral spires against a backdrop of deep crimson and burnt orange gas clouds, with delicate tendrils of teal and magenta plasma curling at their edges. Thousands of pinpoint stars scatter across the scene like diamond dust, while a brilliant central cluster of young O-type stars blazes with intense blue-white light, casting dramatic shadows through the translucent dust lanes. Wispy shock fronts of superheated gas glow in electric blue where stellar winds collide with denser material. Ultra high resolution, photorealistic astrophotography style, Hubble Space Telescope quality." }, { "id": 2, "title": "The Pillars", "prompt": "Colossal pillars of cosmic dust rising from an infinite void, monolithic towers of deep indigo and midnight blue stretching impossibly tall against the blackness of space. Edges glow with ethereal bioluminescent teal and soft magenta where newborn stars ignite within, light bleeding through translucent layers of gas like lanterns behind silk. Thousands of stars scattered like crushed diamonds across absolute darkness. Scale is incomprehensible - each pillar contains worlds. Soft god rays pierce through gaps in the dust. Cinematic wide shot, extreme depth, atmospheric haze creating layers of distance, moody dramatic lighting, deep blacks crushing into the void, jewel-tone luminosity, 8K, anamorphic lens quality, awe-inspiring cosmic sublime aesthetic." }, { "id": 3, "title": "The Storm", "prompt": "A massive planetary storm seen from orbit, a swirling vortex of deep sapphire blue and electric teal gases spinning slowly in the darkness. The eye of the storm reveals darker layers beneath - navy, cobalt, almost black. High altitude cloud wisps of pale white ice crystals streak across the surface at impossible speeds, frozen in this moment. The planet's limb curves away into shadow, a thin bright arc of atmospheric haze glowing where day meets night. Everything else is void - pure crushing blackness surrounding this lonely turbulent world. Cinematic close orbit view, moody and isolated, deep rich blues against absolute black, soft diffused lighting from distant sun, atmospheric and melancholic, 8K, anamorphic lens quality, cosmic sublime aesthetic." }, { "id": 4, "title": "The Wanderer", "prompt": "A comet drifting through the inner solar system, its ancient dark nucleus trailing twin tails that stretch across the entire frame and beyond. The dust tail sweeps in a graceful arc of pale gold and cream, while the ion tail streams straight back in ghostly electric blue, both dissolving into the infinite black. The nucleus itself is a small dark heart of primordial ice, barely visible, jets of sublimating gas creating a soft teal-white coma glow around it. It has traveled for billions of years through absolute nothing to reach this moment. Loneliness incarnate. Cinematic composition, sense of vast journey and isolation, soft ethereal glow against crushing void, muted jewel tones, atmospheric and melancholic, 8K, anamorphic lens, cosmic sublime aesthetic." }, { "id": 5, "title": "The Threshold", "prompt": "The event horizon of a supermassive black hole, reality distorting at the edge of existence. A thin brilliant ring of superheated gas - white-hot fading to deep amber and crimson - orbits at nearly light speed, smeared into a perfect glowing halo by gravitational lensing. Behind it, stars are warped and duplicated, stretched into arcs and rings around the perfect circular darkness at the center. The black hole itself is absence - not black but nothing, a hole in the universe where light falls forever. The accretion disk reflects faintly in the gravitationally mirrored space above and below. Staring into infinity. Cinematic composition, reality-bending distortion, warm accretion glow against absolute crushing void, terrifying and beautiful, 8K, anamorphic lens, cosmic sublime aesthetic." }, { "id": 6, "title": "The Collision", "prompt": "Two galaxies passing through each other in slow gravitational embrace, their spiral arms stretched and distorted into sweeping tidal ribbons of light. Stars by the billions flow like luminous rivers between the merging cores - streams of pale gold, soft blue, and distant white pulling across hundreds of thousands of light-years of void. Where the cores approach, intense knots of newborn stars blaze in clusters of soft cyan and magenta. Dark dust lanes create dramatic silhouettes against the glowing stellar streams. The interaction has been happening for millions of years and will continue for millions more. Time is meaningless at this scale. Cinematic extreme wide shot, incomprehensible scale, soft ethereal luminosity, jewel tones against absolute black void, 8K, anamorphic, cosmic sublime aesthetic." }, { "id": 7, "title": "The Abyss", "prompt": "A vast cosmic void stretching infinitely in all directions, an endless expanse of deep black punctuated by distant pinpricks of starlight. In the foreground, a swirling nebula of ethereal gas and dust glows softly in shades of violet, indigo, and midnight blue, illuminated from within by the faint light of newborn stars. Wisps of iridescent teal and magenta drift through the darkness like ghostly tendrils, creating a sense of depth and mystery. The scale is incomprehensible - this is a place where entire galaxies could fit within the frame. You are small. You are nothing. You are staring into forever and forever stares back. Cinematic wide shot, extreme depth, atmospheric haze creating layers of distance, moody dramatic lighting, deep blacks crushing into infinite void, soft ethereal bioluminescence, jewel-tone nebula glow against absolute darkness, 8K, anamorphic lens, cosmic sublime aesthetic." }, { "id": 8, "title": "The Pale Blue Dot", "prompt": "Earth seen from four billion miles away, a tiny pale blue-white speck barely visible against the absolute black void of deep space. No detail, no continents, no clouds - just a faint luminous point of soft cyan light, smaller than a grain of sand, floating in endless nothing. The frame is almost entirely pure black emptiness with the tiny distant Earth off-center, barely there, almost lost. A subtle scattered band of faint light crosses the frame diagonally - ancient sunlight diffused through interplanetary dust. The loneliness is overwhelming. The fragility is heartbreaking. Everything that ever lived, loved, or mattered exists on that barely-visible point of light. Minimalist composition, extreme negative space, 90% pure black void, tiny distant pale blue dot, Voyager 1 perspective, melancholic and profound, 8K, anamorphic lens, cosmic sublime aesthetic." } ]

tetsuo

714,269 görüntüleme • 8 ay önce